SBD -> Master Cassette -> PCM -> Dat
Dat (Sony R500) -> SEK'D Prodif Plus -> Samplitude v7.02 Professional -> FLAC
(3 Discs Audio / 2 Discs FLAC)
Transferred and Edited By Charlie Miller
I can't confirm this lineage 100%, but that is how my dat was labled and that is how Rob Eaton has it listed, so I can only assume it's correct. I have also seen it listed as SBD>VHS>Cass>Dat>CD. This version sounds better and is more complete than the etree version.
Although, the mics used to record this show are unidentified
it only will take you 5 seconds to realize the deck was patched into
a veteran FOB taper with good equipment and a great buffer
zone in front of the mics. This is an awesome "you are there" FOB.
A HUGE special thanks to Painoman for lending me his Master Cassettes,
Which took me a friggin year to digitize. Painoman you have the
patience of a saint.
Source: Nakamichi CM304's + Beyer M101>Sony Mixer>Sony D5M
Location: *Lawn, Stand at 9 Feet
Transfer: Nak CR5A>Lunatec V3(analog out)>722@24/96
Editing: Adobe Audition 2.0 dither and resample 16Bit>Cdwav/tracking>flac16
Tapers: Tony Suraci/nak700
Transfer and upload by Tony Suraci.
Thank you to Charlie Miller for the SBD transfer;
to Jim Oade, Painoman, and Tony Suraci for recording the show;
and to Charlie Connor and Doug Oade for the AUD transfers.
Matrix by Hunter Seamons using Final Cut Pro (SHN & FLAC>AIFF>Final Cut>Soundtrack>WAV>FLAC)
July 6, 2008 Speed Corrected July 20.
1) There is occasional, minor static in the SBD.
2) Soundtrack Pro was used to reduce/remove static in Rooster, Supplication Jam, Spoonful, and Black Peter. (The static in Drums>Space seems to be instrument related.)
3) While any of the above AUDs could have made a good, interesting matrix, the Force ushered me to choose Oade, and incorporate the other two for the patches, when available.
4) There is a cut in the Oade Aud during Lovelight (3:23-end of track) Tuning (3) (entire track) and Baby Blue (4:39 to end). Painoman's AUD patches the Lovelight track up to 8:22, and Surac's AUD patches Baby Blue.
5) There are cuts in the SBD during Supplication Jam (0:17-0:29) and Space (3:39-4:39).
6) Some echo effects that the band was using during this time for vocals and instruments can sound like "slippage," but I can confirm that they are not such moments.
7) The show is seamless.
Remastering Notes 07/20/08:
1) The speed was increased by 1.4%. It was rather asinine of me to sync the show to the analogue Miller source (love those Millers!) and not the digital Oade source. A reliable "source" informed me that this matrix was about 1.4% slow. Anything over 20 cents in speed difference from true time warrants a fixing in my view. The matrix SOURCE was not pitch-corrected; instead, I exported re-cut, speed-corrected tracks from the earlier Final Cut step in the process. This was done to avoid any unforeseen degradation that could have resulted from additional steps in processing (e.g. weird track gaps can sometimes creep in when pitch correcting in weird ways). There will remain a very small difference in speed from the Oade source because I synced this to analogue originally (with its slight fluctuations), but the general 1.4% increase is basically putting this show in pitch and giving it its true, proper energy.
2) Consequently, I needed to re-do the Soundtrack process, which included some touching up in Bertha as well this time around.
August 11, 2011 Subject:
Best of 1985
5 stars are needed to just balance out Cliff's review. He was at this show and knows how great it was: a tremendous first set with the best ever Stagger Lee, a rare 1st set Crazy Fingers, a great Supplication jam, perhaps the best ever Dont Ease and even Bucket was better than average. The 2nd set was one long big jam with a flawless Stranger>EYES>GDTRFB. Jerry's voice was good for 1985 and his guitar was even better. This show and 4-27-85 are the few that I will listen to from 1985 as it is not one of my favorite years. Cliff is just messin with everyone!
January 6, 2011 Subject:
WAKE UP CLIFF HUCKER
Wow man you are something else remember the day when you listened to the GD and enjoyed the music, the vibe and the high and that was all right. As a Deadhead it's insulting cause a lot of us enjoyed the show.
September 22, 2010 Subject:
A smelly turd...
...yes, Jerry's voice is terrible and he is so fat that you know he's deathly uncomfortable...but in spite of this there are some real gems; Pittsburgh, Alpine Valley, Brendan Bryne, and this one. I do prefer audience tapes of these shows because the board tapes are ~so~ sterile...so I was pleased to see a Matrix of this one.
I'll give this a 5 for recording and a 4 for performance.
March 26, 2010 Subject:
Who says 80's dead doesn't jam?
This show is full of highlights the first set has standout versions of just about everything. just maybe the most solid single week+ of shows since fall 83. There is also a shortened instrumental lazy phrasing before supplication.
favoritefavoritefavoritefavoritefavorite ( 3 reviews ) Source: 24 Bit Matrix at 96 kHz Rate of SBD (shnid=117263) and AUD (shnid=74961) by Jubal H. Seamons using Final Cut Pro (FLAC24 & FLAC16 > AIFF > Final Cut w/EQ > AIFF tracking via Audacity > FLAC24 via xACT w/meta-tagging)
Source: Partial 3 song Matrix by Hunter Seamons; Soundboard recording by Betty Cantor-Jackson; Audience recording transferred by Dale Shepherd; note: The seeder's comments indicate that this is a different transfer than his previous matrix source